I'm going to be doing a post on Todd's producing career, and it's surprising who he's worked with. And a lot of fun to hear his inside view, since almost everything in my posts is coming from his autobiography and he's very enjoyable to read.
That's my favorite album by The Band, and I had no idea Todd Rundgren produced it. That must have been a roller coaster.
"Stage Fright" is a great song. I would also highlight "Daniel and The Sacred Harp" as The Band fully embracing Gothic weirdness: https://www.youtube.com/watch?v=Gp_aZSJapjE
Yes, it sure sounds like it was a bit of a challenge on both sides. It's hard to imagine given how different they were, but then Todd had worked with them on Jesse Winchester's record so they already knew him.
Thanks for sharing your other favorite. I'll have to take a listen to the whole album at some point.
Thinking about it now -- with more of an adult perspective compared to when I first heard the album -- I feel badly for them. I think that was a rough time, with a lot of drugs and tension among the band. I would also say that part of what makes the album powerful is that it feels genuinely exposed. There's an underlying mood of, "we've been going through some rough times, and I'm not completely sure that we're okay" which makes for a powerful album.
I'd also say the mood isn't, "we're miserable and falling apart."
I think you've hit the nail on the head, although I'm no Band expert. It seems they were struggling with fame, hence the title song, as well as drug use soon to become addiction for some band members. As well as an unfolding power struggle. Touring as a headliner can crack open divisions in any band. So I think they were indeed rough times for them, out of which came this affecting album.
The story of The Band is one of the most fascinating (and tragic) in rock history, so much talent in each and every member. "Stage Fright" as an album was not well-reviewed at the time, but it's always been one of my favorites in their catalog. From what I've read Todd tends to downplay his role in it, but as you say there's no way to parse out credit for who did what. Highly recommended: Levon Helm's autobiography "This Wheel's On Fire" and *all* of the The Band's albums - even the later ones without Robbie Robertson. And don't overlook "The Basement Tapes"!
I imagine it was hard for them to follow the extraordinary critical success of their previous album. Where do you go from there but down in one way or another (lower ratings or sales, drugs, personal and band problems). I must read Levon's autobiography, thanks for recommending it. (And listen to the albums and basement tapes.)
I have to give Todd a lot of credit for essentially competing with Glyn Johns with the mixes. Especially given Glyn's reputation and experience. What if the Band had chosen all of Glyn's mixes? For a new producer/engineer, that could have been difficult to come back from, especially with Bearsville where he was trying to prove himself. He had a confidence in himself from a young age that one can only admire and envy!
Agree with you 100%, Hugh. I'm a huge fan of the group, in part because of their story but more because of the music they created in the first three albums and on "The Basement Tapes" (still my favorite work from Dylan). "Stage Fright" ranks third in my top three for The Band, but you could see the seams beginning to show and it wasn't long before the wheels started to fall off. They were too professional (despite all the substances present and ingested) to let it go too far off the rails, but it was close.
Ironically, post-Robertson, a favorite song is not an original, but the group's cover of Springsteen's "Atlantic City." I always wondered what he would have done with them instead of the E Street Band, especially during his wilderness days of the mid 1990s.
Finally, I'm somewhat surprised that no one mentioned that Bearsville is where The Replacements started work on "Don't Tell a Soul," a similarly troubled album that I find to be something of a spiritual cousin to "Stage Fright." It's fitting that the Mats ended up ditching most of the recordings from their time in Bearsville.
Just listened to "Atlantic City" for the first time as it's one of your favorites. Great storytelling.
I've got the book Trouble Boys about the Replacements but have never read it. Wasn't much into punk or alt rock in the 80s. But just listened to "Achin' to Be" and now I want to listen to more. Thanks for bringing them up -- a definite hole in my musical history.
It’s a great, though depressing read. Once you dive into The Replacements, especially from Let It Be on, you might not get out of the listening pool for quite some time. It’s been 40 years and I never have.
Quick follow-ups on this fun thread (btw I’m a 43 yr old Todd fan and am enjoying your attention to his work): even better than Atlantic City is the Band’s treatment on that album of Dylan’s Blind Willie McTell. And Dead Man’s Pop, the expanded version of Don’t Tell a Soul, includes (if I recall correctly) their recordings from Bearsville.
Haven't played this album in probably 30 years. What a great reminder to revisit this one! Also, I think this might be the first time I saw "dance song" and "The Band" in the same sentence, but this one is indeed groovy. Then again, I was never a deadhead and could never get the urge to dance to their tunes. Though I did attend 3 of their shows live and will admit that -- with the proper mix of drugs -- I might have been seen dancing! No video proof, thankfully... (I bring this up because this song reminds me of the Grateful Dead.)
I hadn't heard this in ages myself and was surprised it was produced by Todd. But you read his autobiography and find that he's crossed paths with a lot of people you'd never expect. I'll share a fun story involving Janis Joplin in an upcoming post.
In my world almost everything is danceable. I guess I should think about other people who may not be so willing to make a fool of themselves when I call something danceable!
I've said it before, Steve, and I'll say it again....great minds think alike! After reading Ellen's excellent piece (and a few of the comments before yours), I was thinking "I wonder if someone could do a compare/contrast on The Dead and The Band" (it wouldn't be me; I know so little about both! I did see The Dead, once, in Houston, in the early '70s....I think they're just now getting to their encore)!
In other words, like you, I was (for the first time ever, I think) comparing those two "rootsy," jammin', bordering-on-country-vibe rock bands! That's all! Sometimes, we amaze me!
I can tell they're somewhat similar, 'cause I've never particularly cared about what either has to offer! Full disclosure, I HAVE actually heard more from the Dead and have enjoyed some of their songs (just not for the long term...just about as long as I'm listening to this song or that). Because they were on Warner Bros (and Daddy brought home their promos), I heard their albums thru about '73. So, at least I can speak somewhat intelligently about them! And, I did see that concert....that ticket HAD to be a comp from Dad! I'll check out that article, Ellen........thanks!
Now, you're singin' my song!! I'll be tuning in! As for my charmed ado, you're certainly spot-on....and, you know I don't take it lightly! That access and unique upbringing (and my love of writing) is why I'm so driven to "take advantage" of it all to lay it down, FRONT ROW & BACKSTAGE!
I’ve always loved that album (although I’m not sure I’d agree that it’s better than their second LP). I’m not really much of a Rundgren fan, but I dig what he brought as a producer.
I also remember the first time I visited the Playhouse in Woodstock and realized that it was where The Band had recorded Stage Fright.
I've never visited the Playhouse, or Woodstock for that matter, and should go sometime.
Just discovered on going to the Playhouse website that the tribute band The THE BAND Band is performing "Stage Fright - The Concert" on August 31st.
I've got a post on Todd the producer coming. It's surprised me what he's done, and at one point he was the highest paid producer in the world. Doing this album was a smart move.
Wow. I never knew they even crossed paths, let alone Todd producing a whole album for the Band.
It seems like an odd pairing, doesn't it?
I'm going to be doing a post on Todd's producing career, and it's surprising who he's worked with. And a lot of fun to hear his inside view, since almost everything in my posts is coming from his autobiography and he's very enjoyable to read.
That's my favorite album by The Band, and I had no idea Todd Rundgren produced it. That must have been a roller coaster.
"Stage Fright" is a great song. I would also highlight "Daniel and The Sacred Harp" as The Band fully embracing Gothic weirdness: https://www.youtube.com/watch?v=Gp_aZSJapjE
Yes, it sure sounds like it was a bit of a challenge on both sides. It's hard to imagine given how different they were, but then Todd had worked with them on Jesse Winchester's record so they already knew him.
Thanks for sharing your other favorite. I'll have to take a listen to the whole album at some point.
Thinking about it now -- with more of an adult perspective compared to when I first heard the album -- I feel badly for them. I think that was a rough time, with a lot of drugs and tension among the band. I would also say that part of what makes the album powerful is that it feels genuinely exposed. There's an underlying mood of, "we've been going through some rough times, and I'm not completely sure that we're okay" which makes for a powerful album.
I'd also say the mood isn't, "we're miserable and falling apart."
I think you've hit the nail on the head, although I'm no Band expert. It seems they were struggling with fame, hence the title song, as well as drug use soon to become addiction for some band members. As well as an unfolding power struggle. Touring as a headliner can crack open divisions in any band. So I think they were indeed rough times for them, out of which came this affecting album.
And a manager whose strategy was "divide and conquer."
Did not know that. Not a good approach to keep a band cohesive, harmonious, and productive!
The story of The Band is one of the most fascinating (and tragic) in rock history, so much talent in each and every member. "Stage Fright" as an album was not well-reviewed at the time, but it's always been one of my favorites in their catalog. From what I've read Todd tends to downplay his role in it, but as you say there's no way to parse out credit for who did what. Highly recommended: Levon Helm's autobiography "This Wheel's On Fire" and *all* of the The Band's albums - even the later ones without Robbie Robertson. And don't overlook "The Basement Tapes"!
I imagine it was hard for them to follow the extraordinary critical success of their previous album. Where do you go from there but down in one way or another (lower ratings or sales, drugs, personal and band problems). I must read Levon's autobiography, thanks for recommending it. (And listen to the albums and basement tapes.)
I have to give Todd a lot of credit for essentially competing with Glyn Johns with the mixes. Especially given Glyn's reputation and experience. What if the Band had chosen all of Glyn's mixes? For a new producer/engineer, that could have been difficult to come back from, especially with Bearsville where he was trying to prove himself. He had a confidence in himself from a young age that one can only admire and envy!
Agree with you 100%, Hugh. I'm a huge fan of the group, in part because of their story but more because of the music they created in the first three albums and on "The Basement Tapes" (still my favorite work from Dylan). "Stage Fright" ranks third in my top three for The Band, but you could see the seams beginning to show and it wasn't long before the wheels started to fall off. They were too professional (despite all the substances present and ingested) to let it go too far off the rails, but it was close.
Ironically, post-Robertson, a favorite song is not an original, but the group's cover of Springsteen's "Atlantic City." I always wondered what he would have done with them instead of the E Street Band, especially during his wilderness days of the mid 1990s.
Finally, I'm somewhat surprised that no one mentioned that Bearsville is where The Replacements started work on "Don't Tell a Soul," a similarly troubled album that I find to be something of a spiritual cousin to "Stage Fright." It's fitting that the Mats ended up ditching most of the recordings from their time in Bearsville.
Just listened to "Atlantic City" for the first time as it's one of your favorites. Great storytelling.
I've got the book Trouble Boys about the Replacements but have never read it. Wasn't much into punk or alt rock in the 80s. But just listened to "Achin' to Be" and now I want to listen to more. Thanks for bringing them up -- a definite hole in my musical history.
It’s a great, though depressing read. Once you dive into The Replacements, especially from Let It Be on, you might not get out of the listening pool for quite some time. It’s been 40 years and I never have.
Thanks for the advice, Glenn. Appreciated.
Quick follow-ups on this fun thread (btw I’m a 43 yr old Todd fan and am enjoying your attention to his work): even better than Atlantic City is the Band’s treatment on that album of Dylan’s Blind Willie McTell. And Dead Man’s Pop, the expanded version of Don’t Tell a Soul, includes (if I recall correctly) their recordings from Bearsville.
I will check these out -- thanks for the recommendations!
Another week of Todd, hope you enjoy it.
The Band's version of Blind Willie McTell is gorgeous.
Haven't played this album in probably 30 years. What a great reminder to revisit this one! Also, I think this might be the first time I saw "dance song" and "The Band" in the same sentence, but this one is indeed groovy. Then again, I was never a deadhead and could never get the urge to dance to their tunes. Though I did attend 3 of their shows live and will admit that -- with the proper mix of drugs -- I might have been seen dancing! No video proof, thankfully... (I bring this up because this song reminds me of the Grateful Dead.)
I'm disappointed there's no video, Steve!
I hadn't heard this in ages myself and was surprised it was produced by Todd. But you read his autobiography and find that he's crossed paths with a lot of people you'd never expect. I'll share a fun story involving Janis Joplin in an upcoming post.
In my world almost everything is danceable. I guess I should think about other people who may not be so willing to make a fool of themselves when I call something danceable!
I've said it before, Steve, and I'll say it again....great minds think alike! After reading Ellen's excellent piece (and a few of the comments before yours), I was thinking "I wonder if someone could do a compare/contrast on The Dead and The Band" (it wouldn't be me; I know so little about both! I did see The Dead, once, in Houston, in the early '70s....I think they're just now getting to their encore)!
In other words, like you, I was (for the first time ever, I think) comparing those two "rootsy," jammin', bordering-on-country-vibe rock bands! That's all! Sometimes, we amaze me!
Here's one article on The Band's influence on the Grateful Dead -- https://faroutmagazine.co.uk/grateful-dead-song-inspired-by-the-band/
I'm thinking there has to be a Deadhead or Band devotee who's done a doctoral dissertation on this!
Maybe it's time for a Brad and Steve post.
I can tell they're somewhat similar, 'cause I've never particularly cared about what either has to offer! Full disclosure, I HAVE actually heard more from the Dead and have enjoyed some of their songs (just not for the long term...just about as long as I'm listening to this song or that). Because they were on Warner Bros (and Daddy brought home their promos), I heard their albums thru about '73. So, at least I can speak somewhat intelligently about them! And, I did see that concert....that ticket HAD to be a comp from Dad! I'll check out that article, Ellen........thanks!
Never mind the post then. Maybe you'll like tomorrow's offering better -- hard rock from '73.
You had a charmed adolescence, Brad. Geez!
Now, you're singin' my song!! I'll be tuning in! As for my charmed ado, you're certainly spot-on....and, you know I don't take it lightly! That access and unique upbringing (and my love of writing) is why I'm so driven to "take advantage" of it all to lay it down, FRONT ROW & BACKSTAGE!
Would highly recommend this podcast, if you haven't heard it before:
https://podcasts.apple.com/us/podcast/the-band-a-history/id1452077561
Thanks for the recommendation -- for myself and others who may be interested.
I’ve always loved that album (although I’m not sure I’d agree that it’s better than their second LP). I’m not really much of a Rundgren fan, but I dig what he brought as a producer.
I also remember the first time I visited the Playhouse in Woodstock and realized that it was where The Band had recorded Stage Fright.
I've never visited the Playhouse, or Woodstock for that matter, and should go sometime.
Just discovered on going to the Playhouse website that the tribute band The THE BAND Band is performing "Stage Fright - The Concert" on August 31st.
I've got a post on Todd the producer coming. It's surprised me what he's done, and at one point he was the highest paid producer in the world. Doing this album was a smart move.